Presented below is an episode transcript of Gehenna from Chris Carter's Millennium TV series. These transcripts have been provided thanks to the dedication and time consuming hard work of Millennium fans Libby and Maria Vitale. Millennium - This is who we are is extremely greatful to Libby who has painstakingly checked, updated and edited each one for accuracy to make sure that they are as true to the actual episodes as possible.
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The transcript on this page includes all spoken and visual content providing a full written account of the selected episode of Chris Carter's Millennium television series.
Please note that transcripts are different to the original Ten Thirteen shooting scripts/screenplays in that they have been painstakingly transcribed from the actual broadcasted episodes (and subsequently later checked against the DVD released episodes) for the benefit of resource and interest of Millennium's fans.
The original episode screenplays and shooting scripts may include or exclude varying scenes, explanations and character descriptions and are always of great interest to fans of Millennium. Such scripts of Millennium may occasionaly be found for sale on Ebay and other online auction sites and make for ideal collectors items.
In 2004, Lance Henriksen (Millennium's Frank Black) teamed up with Sue Myatt formerly of website Lance Henriksen Magic to auction his personal signed collection of 63 Millennium scripts filled with Lance's comments, notes, production sheets, location maps and reminders.
Together they are to be congratulated for raising over £13,000 for international charities, which was a fantastic endeavour.
Unfortunately many, if not most of the auctioned autographed scripts were believed to have been purchased by internet auction traders, and therefore never got to be appreciated and cherished by Millennium's actual fans.
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Written by Chris Carter
Directed by David Nutter
U.S. Air Date: November 01, 1996
[Transcribed by Maria Vitale
Edited by Libby]
[Night. Several young men, in two cars drive to secluded wooded area, with Cypress Hill rap music (from the Black Sunday CD) blaring from their radios. Music, "Insane in the Membrane" continues throughout.]
{Music: "Insane in the brain, in the brain! Insane in the brain, in the brain! Insane in the brain... "}
[When they arrive, one man gets out of the lead car and heads off to meet with some other men.]
{Music: "Like Louis Armstrong, plays the trumpet, I'll hit that bong & break ya off something soon! I got to get my props. Cops, come and try to snatch my crops! These pigs wanna blow my house down, head underground, to the next town... "}
[As the young man comes running back to the car, the driver turns to his three passengers in the rear... ]
[One of the men in the rear, sitting on the right, is drinking a beer. He and the one sitting on the left, are rocking to the music. But the middle one, seems nervous, frightened.]
{Music: "They get mad when they come to raid my pad And I'm out in the night blue scad... "}
{Music: "Yes, I'm the pirate, pilot of this ship... ultraviolet dreams... "}
[The D.P. (Dark Prince) has returned with the drugs he has purchased.]
{Music: "Hide from the red light beams. Now do you believe in the unseen?"}
[He hands a small folded foil packet to the driver. The driver holds the packet up so that the rear passenger in the middle can see it.]
{Music: "Look, but don't let your eyes strain. The next one of me is going insane... "}
[The D.P. walks around the car to get in again, then both cars drive off. {Music: "Insane in the membrane, insane in the brain!"}
[Still driving, the D.P. opens the packet to reveal a blotter of LSD. The music is still Cypress Hill but now it's 'I Wanna Get High' (same album).]
{Music: High so high. I wanna get high so high. I want to get high... "}
[He tears off a dot and hands it to the edgy passenger sitting in the rear.]
{Music: "... so high."}
[Eedo takes the bit of paper and chews it as the man on the left barks at him.]
{Music: "Well that's the funk elastic, the blunt I twist it. The slamified, boodified, funk on you desk, yes... "}
[Music continues in the background.]
[The cars continue until they reach an abandoned industrial plant. Both cars begin to circle as we see someone else. We watch from his vantage point high above. It is very dark, the only light visible is that from the cars themselves and whatever is reflected on the wet street. The man watches them with night-goggles.]
[Finally the cars stop. We see the man with the goggles head-on and then we see through his goggles the cars down below.]
[All of the men, from both cars, get out and begin whooping and hollering, taunting the man who has taken the LSD, as he staggers from the car. They encircle him and as they begin barking at him, he hallucinates that their heads become those of vicious dogs, each one barking and threatening him.]
[One of the men quietly speaks to him.]
[Eedo by now is perspiring heavily and is confused by the drug.]
[All of the men, except Eedo, get back into the cars. As Eedo tries to get into one of them, he finds the doors locked.]
[The same man who offered Eedo the advice to run, just stares at him but does not unlock the door, then he looks away from him.]
[Both cars begin circling him. Most of the occupants begin whooping at him again, hanging out the car windows and waving their arms at him. Eedo becomes even more disoriented until finally he runs off in one direction into one of the buildings.]
[There is another view through the goggles from above as the man clearly is following Eedo's actions.]
[Inside the building, there is a lot of water which is falling from above. Eedo is standing in a large puddle of water and looks up to watch it fall.]
[Through his hallucinations, he sees the man who has been watching him from above, jump down on him but - he sees instead some kind of creature with wings and fangs descend upon him.]
[There are screams and growling throughout. What follows is a quick succession of images: a bright white light, as the man jumps down on Eedo (his POV); Eedo sees the face of a demon-like creature with fangs; an image of the man with his goggles still on, his face is partially obscured by a bright white light which 'morph' into his teeth; Eedo is seen writhing in pain on the ground; rapid images of part of the creature's face, his open mouth and fangs, all attacking Eedo; Eedo on the ground in pain; the man with the goggles; the fangs; several images of the creature; Eedo still moving; the man with the goggles awash in white light, striking, biting, clenching his teeth; the fangs; more images of the creature; Eedo screaming; the creature again; Eedo again, blood on his nose and mouth, his arm is seen, then his right ear; the creature, his long fingernails outstretched, ready to strike.]
[fade to black]
[main titles]
"I smell blood and an era of prominent madmen" W.H. Auden
[polaroid fade up]
[Day, outside the Black residence. Frank comes out of his house, skips down the steps and walks round to the side of the house where a ladder stands leaning up against it.]
[He climbs up with a pair of light bulbs in one hand. When he reaches the top, he screws one into a light fixture. As he does so, neighbor Jack Meredith walks up to greet him.]
[Startled, Frank turns and looks down at him.]
[He screws in the second bulb, then takes out a screwdriver to make some minor adjustments to the fixture.]
[Finished with his adjustments, he begins to come down the ladder.]
[Down on the ground again:]
[Catherine comes out of the house.]
[Frank heads for the door.]
[Inside, Jordan is playing with Ben, the family pet dog. Ben is barking as both of them ramble down the stairs.]
[They both run past the door, Jordan still calling after the dog, as Frank opens it, enters the house and picks up the phone on the table.]
[The perspective does not leave Frank. Watts's voice is heard but he's never seen.]
[Catherine enters the house. The door has been left wide open. She closes the door.]
[He hangs up the phone.]
[He heads back out the door.]
[San Francisco. Day, a public park. Two police squad cars are at the scene. An officer is interviewing a woman. Frank pulls up in a rented car. Watts is talking with a number of local detectives.]
[They shake hands.]
[As they walk along, they pass a large row of red rose bushes, in full bloom.]
[They both crouch down as Watts pushes back a branch from a rose bush to reveal a human ear on top of some ash deposited there. An ant is crawling all over it.]
[Frank thinks for a moment, then flashes quickly on some images.]
[He hears screams and sees: flames; someone is screaming behind a glass; a bright white light; someone being burned alive behind a closed door; the face of a man, his mouth wide open, teeth and face covered with blood; a partially obstructed image of the creature? End of vision.]
FRANK:
[Another vision: bits and pieces of many images, all blurred until: a man, eyes wide with terror, his hand raised and placed on the glass and more flames. End of vision.]
[Yet another vision: a man screaming, his mouth and teeth covered with blood; a close up of his mouth and teeth, again, covered with blood; his eyes wide with fear and pain; a shot of the man, mouth wide open, screaming behind the glass, mouth covered with blood, as the camera pulls back; his hand finally falling from the glass. End of vision.]
[They both finally stand upright.]
[Night, outside the Black residence. Inside, Jordan's bedroom. Benny is licking Jordan's ear making the child giggle. Her mother enters the room.]
[She lifts the dog off the bed and shoos him out of the room.]
[Jordan smiles.]
[Catherine kisses her on the cheek as Jordan begins to count aloud.]
[Catherine shuts off the lamp on Jordan's nightstand as Jordan continues to count.]
[She notices the lights down below, which Frank has just installed and which are motion-sensitive, have turned on.]
[She walks over to the window.]
[She reaches it and looks down below.]
[There is no movement down in the yard yet the lights are still on. She pulls the shade down.]
[In another room downstairs, Catherine walks to the window and looks up at the light which finally goes off as she lowers the shade.]
[Just then the phone rings.]
[Catherine lets out a deep sigh. POV shifts to Frank.]
[Frank is in the forensics lab in the San Francisco P.D. The camera cuts back and forth between the two during their conversation. Frank walks around the lab during the phone conversation.]
[Behind him someone has entered the lab with several large boxes stacked on a hand truck.]
[POV shifts to Frank at the lab as the other person who entered the lab turns out to be Peter Watts.]
[Watts gestures that he wants Frank to come over and meet the man with him.]
[He hangs up the phone and walks over to Watts and the other man.]
[They shake hands.]
[He digs into his jacket pocket for a box cutter, opens it and uses it to cut open the topmost box of the pile still on the hand truck.]
[Inside the box is an evidence bag filled with ashes which Penseyres rips open. Frank stares into the ashes.]
[Frank has another brief vision: the same man, mouth and teeth covered with blood, screaming, eyes wide with terror; a clearer image of the man, same condition as described above with his hand and face pressed against the glass but the door is more visible this time; camera zooms in and out on his face, alternating with bright white flashes of light. End of vision.]
[Frank again stares into the box and has another vision: a flash of white light; the man screaming; black screen; the man screaming again, blood visible from his nose, mouth, gums and neck, with his hand raised near his head; he is bathed in the white light; several images of him again, his face looks worse than before, he is clearly being burned alive, there are burns around his right eye, his neck looks worse, more blood; there are flames or that white light; and the man again looking straight out, as he has throughout all of the visions, at whomever has put him inside that room. There has also been the sound of a fire burning throughout. End of vision.]
[He pulls out a small box from his other pocket. It is the ear in some formaldehyde.]
[He shows them the ear.]
[Night. The abandoned dry-cleaning facility. The same one where Eedo was brought to, left and attacked. Water streams down from the missing roof portions above.]
[A car pulls up to the block of buildings. Using flashlights, Watts and Frank search through one of the buildings.]
[But they continue to search.]
[Frank comes upon the same large puddle of water where Eedo stood. It is blood red from the rusted iron debris all around.]
[Frank looks into the puddle and has another vision: a jumble of images, none of which is clear; then finally the man, Eedo, as he was attacked on the ground where Frank now stands; a quick succession of images, most of which are blurred or flashes of white light, showing Eedo writhing in pain, being repeatedly struck. End of vision.]
[Frank walks over a bit and looks up at where the water is streaming down from a broken pipe near the ceiling. Watts joins him.]
[Staring at the pipe, he has another vision: he hears the creature growl and snarl; he sees the mouth, teeth, fangs of the creature. Clearly he has seen what Eedo saw through his LSD hallucination. End of vision.]
[Frank walks over to another part of the building.]
[Frank shines his flashlight on the ground and finds another puddle of red liquid with human teeth in and near it.]
[Close up on the teeth. One in particular, has a gold crown.]
[fade to black]
[polaroid fade up]
[Close up of a pair of tweezers holding the tooth with the gold crown. Watts is holding some of the teeth up under a lighted magnifying glass so that both he and Frank can better see the objects.]
[Again, another tooth is held under the magnifying glass.]
[He gets up and walks over to a light box where he has x-rays of the teeth set up. Frank follows.]
[The door opens behind them. Penseyres enters with another man, Mike Atkins.]
[Watts and the man shake hands.]
[Penseyres and Watts exchange glances and smiles at the story.]
[He looks over to Frank, who had remained quiet and apart from it all but then finally walks over to greet him.]
[Frank nods and leaves with him.]
[They go for a walk outside of the building, across to a public park where there is a water fountain. Atkins pulls from his jacket pocket a small yellow envelope and hands it to Frank.]
[Frank removes the contents from the envelope. These are the same Polaroids he received when he and his family first moved to Seattle, photos of Catherine and Jordan with a Seattle cab behind them at the curb; the two of them shopping; in Catherine's car, etc.]
[Both nod in agreement.]
[A young man on the phone, tries to solicit a sale of some product to a customer.]
[Another man walks past Bob as the camera slowly turns around him, always keeping him in the foreground still speaking on the phone yet showing an entire room filled with other young men, all doing exactly the same thing.]
[The camera pans along the rows of tables, each with young men similar to Bob, all speaking to prospective customers on their phones and writing down the information received.]
[At the head of the room is a screen. Projected on it are the words: 'CREATE DESIRE']
[Another young man walks past several of the others on the phone, checking their order forms briefly. He stops before the same young man who offered Eedo the advice to run at the start of the episode. He's sitting there in a daze, phone in hand, but not speaking. The man, the Dark Prince from before, checks his order form.]
[The D.P. replaces the order form and walks away. The man, still in a daze, watches him as the person on the phone speaks up.]
[The screen now projects: 'EVERYBODY WANTS BEAUTIFUL HAIR' ]
[Watts, Penseyres and Frank are driving. Penseyres has managed to identify someone through dental records. Frank is looking at several items including his college ID:]
Petaluma [ Photo ] Community College
Eedo Bolow (signature)
883401-3948 GROUP Eedo Bolow
VALID ONE YEAR Expires JUNE 95
[Frank reads aloud portions of the rest, including the family history and Eedo's rap sheet.]
[As Watts pulls up to the house, a police squad car is already at the scene. Two officers are standing by the car, talking.]
[Inside, another officer is standing in the hallway as Watts and Frank enter the house. The officer nods at both of them and points to the dining room where Eedo's father is sitting, head bowed resting on his hand.]
[Bolow nods and sniffles.]
[He gets up and goes into the other room where his wife is sitting. They both speak Russian as he asks her for the letter. She gives it to him. He brings the envelope out to Frank and Watts, removes the letter from the envelope and hands it to Frank. There are two handwritten pages.]
[He hands it to Watts.]
[The forensics lab. Watts, apparently fluent in Russian, goes about translating the letter for Frank and Atkins as they go over it, line by line. A copy of the letter is projected onto a screen.]
[Watts replaces the first page with the second and continues translating.]
[Frank has a quick flash as Watts speaks: he sees Eedo with something red (blood?) splattering his face; it begins to cover his face and hair. End of vision.]
[Frank again sees Eedo: his face and head now soaked in blood.]
[Both Frank and Watts turn to look at Atkins.]
[Penseyres enters the room, contributing to the conversation.]
[Watts shuts off the overhead projector.]
[Night, the Black residence. The security lights turn on as Catherine pulls up in her blue mini-van. She parks the car, gets out and walks over to wake up a sleeping Jordan in the front seat.]
[She picks up and carries the child into the house.]
[Watching from across the street, a man's leg can be seen in the darkness, as the security light goes out.]
[Inside, Ben is barking as Catherine comes down the stairs.]
[The dog continues to bark near the door.]
[She bends down to pick up the day's mail. As she looks through it she is startled by a man's silhouette visible through the leaded-glass front door.]
[fade to black]
[polaroid fade up]
[The silhouette is still visible through the glass. Catherine is frozen, not sure of what to do next when:]
[The voice sounds familiar to her. He moves closer to the glass. His face becomes recognizable.]
[She opens the door, relieved. Ben barks again as Catherine tries to hold him back.]
[He looks at his watch.]
[Catherine and Bletcher then are seen sitting at the dining room table, drinking their coffee.]
[Night. The two German-made cars (BMW?), which appeared at the start of the episode, again have arrived at the abandoned dry-cleaning plant.]
[Again loud rap music can be heard blaring from their car radios (Cypress Hill - 'Hits From the Bong' again from Black Sunday).]
[They circle round and round till they finally come to a complete stop. The occupants of both cars get out, including the second telemarketer 'Bob Smith' who is smiling broadly, obviously high on the same LSD Eedo had taken prior to being brought to the area. 'Bob' seems unaware of what's happening to him.]
{Music: "... the bubbling water is makin' it pure so I got ta take my hit and hold it. Just like Chong, I get the bowl and I reload it."}
[The others encircle him and begin taunting and whooping just as they did with Eedo. This time they do not bark at him but screech and squawk as if they were birds. Music continues throughout.]
{Music: "Get my four-footer and bring it on, as I take hits from the bong."}
[The POV shifts to a green-tinged view through the night-goggles. The men all run back into their cars, leaving 'Bob' dazed and confused as they circle around him just as they did with Eedo. Again, the POV shifts to the man with the goggles who is watching the entire proceedings from high above.]
['Bob' again reacts as did Eedo, by running off into one of the buildings while the cars continue to go around in circles, the young men all hanging out from the car windows whooping and hollering at him as he runs.]
['Bob' runs directly into someone's arms. Terrified, he screams. It turns out to be Frank, who has been waiting quietly and unseen, in the building during all this. He tries to break free from Frank.]
[Night, it is raining. Inside an interrogation room, Watts is talking to 'Bob' but not getting much from him. Penseyres is also present. Atkins watches and listens through a two-way mirror from the next room.]
[The door to the observation room opens and Frank enters with two cups of coffee.]
[Frank hands Atkins one of the cups.]
[Atkins turns and looks at Frank who continues to stare through the glass at 'Bob.']
[In the interrogation room, 'Bob' sits with his back to Frank.]
['Bob' slowly turns to face Frank.]
[Frank has more quick flashes of: Eedo on the ground, in torment, blood covering his face; flashes of bright white light; more images of Eedo screaming throwing his head from side to side, bathed in blood. Sound of screams and gurgling throughout. End of vision.]
[Watts, Atkins and Penseyres are watching and listening from the other room.]
['Bob' has grown more and more upset and finally tears stream down his cheeks.]
[POV shifts to Watts, Atkins and Penseyres in the other room.]
[POV shifts back again to the interrogation room.]
[Frank again flashes on several quick images of: Eedo, trapped inside a room, screaming at a small window, blood coming from his nose and mouth. End of vision.]
['Bob' begins to look very frightened. A quick succession of images of the creature: horrific close ups of his body; his wings; his teeth; several images of the man with the goggles; Eedo writhing on the ground; the creature's fangs; again the man with the goggles and finally, the creature again.]
[During these quick cuts, he has been looking at Frank. Once they are over, he says:]
[Again brief images of the creature and the man with the goggles.]
[One final quick series of images of: the creature's teeth; the man with the goggles; the creature coming closer and closer; and of the full upper torso and head of the creature.]
[He begins to tremble, every part of him shaking, his eyes roll back. He begins to gag. Frank jumps up and grabs the young man by the arms.]
[The others, watching in the other room, rush out to see what they can do.]
[Frank lowers 'Bob' to the floor and begins performing CPR, compressing his chest with his hands.]
[He's frantically working on 'Bob' when Watts, Atkins and Penseyres enter the room. Watts shoves a chair aside and kneels on the floor next to 'Bob' as Frank continues to work on him.]
[Penseyres runs out the door.]
[Watts pulls back the man's head to clear the airway. He checks for a pulse and finds none but Frank won't give up. He continues to compress the dead man's chest. Watts shakes his head, knowing the effort to be futile, yet Frank still won't concede defeat, even when Watts tries to stop him.]
[fade to black]
[polaroid fade up]
[Day, outside the police department at a small park. Frank stands alone, stunned by the recent incident. Atkins walks over to speak with him.]
[They begin walking.]
[Long silent pause between them.]
[Day, outside the Black residence. Frank is making some final adjustments to the security lights. He then climbs down the ladder to find his neighbor Jack Meredith there to greet him.]
[Inside, the Black bedroom, sometime later, Frank reads various passages from the bible, still trying to make some sense of the events of the past few days. He reads from Ephesians, in particular, a note on Chapter 6, Verse 16: 'In addition to all this, take up the shield of faith, with which you can extinguish all the flaming arrows of the evil one. The rulers of the darkness of this world are contending for mastery over the bodies and minds of all members of the human race. He turns to the Book of St. Matthew, Chapter 25. He runs his finger down the page to this passage from Verse 41: "Depart from Me, ye cursed, into everlasting fire, prepared for the devil and his angels." There is a close up of the passage on the screen.]
[Frank continues to read as Catherine enters the room.]
[He closes the book. Catherine, seeing what it is, teases him.]
[Frank, who has been sitting on the edge of the bed, gets up and walks over to Catherine and kisses her.]
[In Jordan's bedroom, she's fast asleep, uncovered and on her side by the edge of the bed. Frank gently turns her so that she's on her back, then covers her. He stands there for a moment smiling down on his child.]
[Later, Frank heads down to his basement office and turns on his Mac. The on screen message reads: 'Hello Frank... Starting up...']
[Then a PPP Dialog Box comes up on the screen: ]
> INIT MODEM > OK > DIALING 2:16 9x66 57600 N81
[As the modem dials in, Frank picks up a book and looks up the word 'Gehenna.' The definition reads as follows: Gehenna /ge'hene/ n. 1 (in the New Testament) hell. a place of burning, torment, or misery. [ecclesiastical Latin via Greek from Hebrew ge hinnom 'hell' originally the valley of Hinnom near Jerusalem where children were sacrificed.]
[When he's finally connected, a Search net query form appears on screen. He types in: 'Gehenna' and clicks on 'Search' as his phone rings.]
[He pauses for a moment because it's after 2am. He picks up the phone.]
[POV shifts to Atkins who is still at the forensics lab in San Francisco. The camera alternates POV somewhat during their conversation.]
[This triggers another vision for Frank. He sees: a hand clawing at a window; Eedo screaming throughout, blood coming from his gums, covering his mouth, his hand pounding repeatedly on the glass; Eedo finally weak from the heat the microwave produces slumps down, only his hand still visible on the glass, briefly before being consumed in flames. His screams trail off at the end. End of vision.]
[Frank looks at his computer screen. The results of his search have finally been found.]
[Frank doesn't respond because he's reading the results. Partial view on screen reads as follows:
Place of Darkness --https:///www.neoctiy... " content=" Scott's Guid...
on Vampire, Mage, Chan... name="keywords" conte...
Gehenna --https://www.gehenna... may contain strange ic...
cigarettes alcohol, nitr...
and/or other things not...
Gehenna International, PTY -https://www.ghi.com/in...
Gehenna International, r... New York, Monaco, San F...]
[The camera pans across the screen which now reads:]
Gehenna International, PTY -https://www.ghi.com/index.html (Score 89, Size 12K) Gehenna International, reg Cayman Islands. Industry chemical holdings. New York, Monaco, San Francisco, Tokyo, Sydney, Cairo. Storage plant.
[As he scrolls down the screen to see the individual listings for the plants, he finds the following listing, only partially visible on screen:
...International, PTY-San Francisco
...tp://www.ghi.com/sanfran.html
...enna International, reg Cayman Islands.
... York, Monaco, San Francisco, Tokyo, Syn...
...mical storage areas, contaminated mate...]
[They both hang up. The moment Frank does, he has second thoughts. He then picks up the phone and tries to call Atkins back but no one answers. Atkins has already left the lab. Frustrated, Frank slams down the phone.]
[Upstairs in their bedroom, Catherine is in bed reading a book. As Frank enters the room, he looks worried. He looks back toward the hall.]
[He walks over to the phone and dials a number.]
[Meanwhile, outside at the plant in San Francisco, it is raining heavily as Atkins drives up and parks.]
[Inside, Atkins looks around with a flashlight. He walks through an storage or records area with many stacked boxes. Then he enters a large room filled with tables, chairs and phones where the telemarketing 'Bob Smiths' earlier were selling that hair-care product.]
[Projected on a screen at the head of the room now is the message: 'FACILITATE ENVY' which then clicks into: 'WORK WILL SET YOU FREE.' ]
[As Atkins turns, he notices an inverted dome in the ceiling, the kind used as a security measure in some places. He looks directly up at it. We look through it down at him. The color is green, identical to that of the night-vision goggles. When Atkins finally walks away, we see that the POV has indeed belonged to the man with the goggles.]
[Atkins continues through a warehouse area with row after row of shelving up to the ceiling, each teeming with boxes, crates, barrels of various materials. He comes upon some barrels labeled: 'FLAMMABLE - SODIUM FLUORIDE' and some wooden crates marked: '66' inside of a triangle; some Chinese characters; '11071-120/126'; and 'REPUBLIC OF CHINA.']
[He prises open one of the crates with a crowbar, slashes open one of the paper packages which contains an assault rifle and an ammo clip.]
[Outside, still raining, several police cars are rushing to the plant's location - the backup which Frank had called for earlier for Atkins.]
[Inside, Atkins continues till he finds a very large metal door with a small glass window and a handle. An industrial scale microwave. The door is ajar.]
[He looks inside the chamber, pushes back the squeaking door and sees a huge pile of ashes filling half the chamber. By the rear wall, some objects can be seen half-buried in the ashes.]
[Atkins steps closer for a better look at the objects which look like skull fragments. As he bends down, the door behind him can be heard squeaking again as someone slams it shut.]
[Atkins runs to the door and begins pounding on the glass.]
[The microwave has been turned on. He looks out of the glass and sees the man with the goggles looking right back at him. He continues to pound on the glass.]
[He claws at the glass with his fingers as the heat increases and begins to overcome him.]
[A S.W.A.T. team enters the warehouse area and makes its way towards the oven and Atkins. Watts and Penseyres also run in that direction with several other local detectives.]
[Atkins collapses in the oven, falling out of sight below the window.]
[Both groups finally reach the oven.]
[Watts and Penseyres pull open the door and Watts rushes inside to help Atkins.]
[As they try to remove Atkins from the oven, there's a great deal of shouting done by many on the scene.]
[Fade to black. Then audio fade in:
[A gradual video fade in of a television news broadcast showing several young men, members of the cult following (the telemarketers) being arrested.]
[On screen, also being arrested, is the man with the goggles, the leader of the cult, as he is being put inside a car. Watts and Penseyres can be seen walking behind him, talking. When they see the news camera, they back off out of range.]
[Frank is watching the news at the police station.]
[Frank turns and enters a room behind him. There, he can listen and watch through a two-way mirror as Watts tries to question Clement in the next room.]
[Clement does not react nor respond to any of the questions. He just sits stone faced and unflinching. In frustration and anger, Watts shouts:]
[No reaction. No response. Watts storms out of the room, slams the door and walks over to join Frank who has not taken his eyes off Clement since entering the room.]
WATTS:
[Clement suddenly turns and stares directly at Frank through the mirror on his own side.]
[Clement rises from his chair and walks over to the mirror and stands exactly in front of Frank, looking directly at him, as if the mirror/glass weren't there at all.]
[Frank has a last vision as Clement stands before him. He hears screams throughout and sees several images of the creature's fangs and of the creature himself. End of vision.]
[Clement's gaze is fixed on Frank, unblinking.]
[He leaves the room.]
[The hospital. Mike Atkins is in intensive care with numerous machines and monitors hooked up to him. He is in an oxygen tent. Frank sits by the bed, keeping vigil.]
[Penseyres opens the door to the room.]
[Frank leaves the room and walks with his wife as they talk.]
[He pulls her close to him and they embrace.]
[end titles ]
Starring
Lance Henriksen (Frank Black)
Megan Gallagher (Catherine Black)
Terry O'Quinn (Peter Watts)
Brittany Tiplady (Jordan Black)
and
Bill Smitrovich (Lt. Bob Bletcher)
Guest Starring
Robin Gammell (Mike Atkins)
Chris Ellis (Jim Penseyres)
Sam Khouth (Dylan)
Co-Starring
Don MacKay (Jack Meredith)
George Josef (Mr. Bolow)
Stephen Holmes (Eedo)
Chris Bradford (Driver)
Henry Watson (Detective)
Don McWilliams (Park Guy)
Music By Mark Snow
Editor: Stephen Mark
Production Designer: Sheila Haley
Director of Photography: Robert McLachlan
Associate Producer: Jon-Michael Preece
Consulting Producer: Ted Mann
Consulting Producers: James Wong & Glen Morgan
Co-Producer: Ken Dennis
Co-Producer: Chip Johannessen
Co-Producer: Frank Spotnitz
Co-Executive Producer: Jorge Zamacona
Co-Executive Producer: Ken Horton
Co-Executive Producer: John Peter Kousakis
Written By Chris Carter
Directed By David Nutter
Executive Producer: Chris Carter